Are you a producer looking for a project to appeal to fans of experimental cinema and exploitation films -and who isn’t? -then read on. The successful filmmaking duo of Ashley Wing and Clayton Fussell are looking for a producer for their next project, Mirrors.
Ashley and Clayton, who are the kernel of Cottage Industry Films, are readying the ground for a collaborative relationship with a new producer which will extend into feature productions. Mirrors will be an ideal testing ground for this relationship, and they want to find someone who is not not only passionate about the film but wants to continue the journey with them into larger projects.
They told D+CFilms: “Ideally we need someone who already has contacts in the industry, to add to the contacts we have made ourselves, particularly when it comes to raising funding for our feature projects.
“We need someone who will share our passion for the films we want to make, but also provide advice and guidance where necessary.”
Cottage Industry Films latest movies have included the story of mobile phone agony OMG, and the Two Short Nights, D+CFilm award-winning Robbing Peter.
â€¢ If you are interested, or require more information, email firstname.lastname@example.org. (Script available upon request.)
Lisa and Ian sit down for dinner, Ian trying to engage in polite conversation, Lisa more interested in shoving her foot in Ian’s crotch. In the bedroom Lisa continues her seduction, tearing open Ian’s shirt and biting his chest. The drama is shattered when Lisa demands that filming be stopped. Now Lisa becomes Sarah and Ian becomes Neil.
We are thrust out of the reality of the story and into the reality of the film, and an erotic drama becomes a sinister documentary as Sarah is pressured to resume ‘filming’, which she reluctantly agrees to do. As filming recommences Sarah and Lisa become indistinguishable and the pressures they both face become amplified as they struggle to deal with the stories they are being forced to tell.
Mirrors (working title) examines the nature of the media. If you point a camera at something, does it automatically become a piece of fiction? Does the act of filming an event turn it from a reflection of reality to an interpretation of reality? Conversely, can a piece of fiction become ‘real’ if the existence of the camera is acknowledged?
10 minutes (approx)
The style of the film will reflect the duality of the fictional vs the real, employing a, cinematic steadiness contrasted with the raw handheld unpredictability and loose framing of reality TV.
Fans of experimental cinema, exploitation films.